Uma amostra das questões. Crie uma conta para resolver todas com correção e comentário.
FUVEST20241a faseQuestao 4InglêsInterpretação de textoMedia
Disponível em https://www.tate.org.uk/art/artworks/.
No anúncio, o segmento “won’t bestow mega-buck prices” indica
Imagens anexadas
A)a tentativa de angariar fundos para patrocinar artistas iniciantes.
B)a falta de incentivo dos museus a pintores vanguardistas.
C)a possibilidade de redução dos valores financeiros de obras de arte consagradas.
D)a ausência de qualidade artística de quadros tradicionais.
E)a crise financeira vivida por galerias de arte famosas.
FUVEST20241a faseQuestao 11InglêsInterpretação de textoFacil
Vincent van Gogh. Salvador Dalí. Frida Kahlo. Casual perusers of ads everywhere would be forgiven for thinking that art galleries are enjoying some sort of golden age. The truth is less exciting, more expensive and certainly more depressing. For this is no ordinary art on offer; this art is “immersive”, the latest lovechild of TikTok and enterprising warehouse landlords. The first problem with immersive art? It's not actually very immersive. A common trope of “immersive” retrospectives is to recreate original pieces using gimmicky tech. But merely aiming a projector at a blank canvas doesn’t do much in the way of sensory stimulation. My favourite element of an “immersive” show I have been to was their faithful recreation of Van Gogh’s bedroom. An ambitious feat, executed with some furniture and, of course, mutilated pastiches of his paintings. While projectors, surround sound and uncomfortably wacky seating are mainstays of immersive art, there are also the VR headsets. But many exhibitions don’t even include these with the standard ticket, so my return to reality has twice been accompanied by an usher brandishing a credit card machine. Sometimes these installations are so banal and depthless, visitors have often walked through installations entirely oblivious to whatever is happening around them. Despite the fixation “immersive experiences” have with novelty, the products of their labours are remarkably similar: disappointing light shows punctuated by a few gamified set pieces.
Disponível em https://www.vice.com/en/article/. Adaptado.
De acordo com o texto, muitos visitantes das exposições de arte imersivas demonstram
A)fascínio pelas novidades tecnológicas utilizadas pelos curadores.
B)desconforto causado pelo excesso de estímulos sensoriais.
C)curiosidade sobre a biografia dos pintores e os movimentos artísticos.
D)apreciação pelas informações oferecidas por guias e educadores.
E)indiferença diante das simulações das obras de arte.
FUVEST20241a faseQuestao 12InglêsInterpretação de textoMedia
Vincent van Gogh. Salvador Dalí. Frida Kahlo. Casual perusers of ads everywhere would be forgiven for thinking that art galleries are enjoying some sort of golden age. The truth is less exciting, more expensive and certainly more depressing. For this is no ordinary art on offer; this art is “immersive”, the latest lovechild of TikTok and enterprising warehouse landlords. The first problem with immersive art? It's not actually very immersive. A common trope of “immersive” retrospectives is to recreate original pieces using gimmicky tech. But merely aiming a projector at a blank canvas doesn’t do much in the way of sensory stimulation. My favourite element of an “immersive” show I have been to was their faithful recreation of Van Gogh’s bedroom. An ambitious feat, executed with some furniture and, of course, mutilated pastiches of his paintings. While projectors, surround sound and uncomfortably wacky seating are mainstays of immersive art, there are also the VR headsets. But many exhibitions don’t even include these with the standard ticket, so my return to reality has twice been accompanied by an usher brandishing a credit card machine. Sometimes these installations are so banal and depthless, visitors have often walked through installations entirely oblivious to whatever is happening around them. Despite the fixation “immersive experiences” have with novelty, the products of their labours are remarkably similar: disappointing light shows punctuated by a few gamified set pieces.
Disponível em https://www.vice.com/en/article/. Adaptado.
O texto apresenta uma crítica às exposições de arte imersivas que está relacionada com
A)a manipulação digital das imagens exibidas pelos usuários do TikTok.
B)o emprego das obras de arte para fins publicitários ilícitos.
C)a cobrança pelo uso de equipamentos para simular a experiência de imersão nas obras.
D)a falta de informação para o público leigo nos catálogos das exibições.
E)o investimento necessário para a criação da tecnologia usada nas instalações.
FUVEST20241a faseQuestao 53InglêsInterpretação de textoFacil
Over the last two decades, technology companies and policymakers warned of a “digital divide” in which poor children could fall behind their more affluent peers without equal access to technology. Today, with widespread internet access and smartphone ownership, the gap has narrowed sharply.
But with less fanfare a different division has appeared: Across the country, poor children and adolescents are participating far less in sports and fitness activities than more affluent youngsters are. Call it the physical divide. Data from multiple sources reveal a significant gap in sports participation by income level.
A combination of factors is responsible. Spending cuts and changing priorities at some public schools have curtailed physical education classes and organized sports. At the same time, privatized youth sports have become a multibilliondollar enterprise offering new opportunities — at least for families that can afford hundreds to thousands of dollars each season for club-team fees, uniforms, equipment, travel to tournaments and private coaching.
“What’s happened as sports has become privatized is that it has become the haves and have-nots,” said Jon Solomon, editorial director for the Aspen Institute Sports and Society Program. “Particularly for low-income kids, if they don’t have access to sports within the school setting, where are they going to get their physical activity?” Mr. Solomon said. “The answer is nowhere.”
The New York Times. 24 March 2023. Adaptado.
Conforme o texto, um dos motivos para a disparidade relativa à prática de atividades físicas por alunos, segundo o nível de renda, reside
A)no abismo persistente entre as notas de estudantes ricos e pobres.
B)no corte de gastos e mudanças de prioridades em algumas escolas públicas.
C)na preferência por jogadores com potencial superior para competição.
D)na redução de bolsas de estudos para adolescentes de famílias abaixo da linha de pobreza.
E)na realização de campeonatos contemplados com doações de ONGs.
FUVEST20241a faseQuestao 88InglêsInterpretação de textoMedia
The main players in the Spanish–Aztec War (1519–21) are well known: Hernán Cortés and Montezuma. Lesser-known, though no less important, is a multilingual exiled Aztec woman who was enslaved, then served as a guide and interpreter, then became Cortés’s mistress. She was known as Doña Marina, and as La Malinche. Scholar and researcher Cordelia Candelaria writes: her paramount value to the Spaniards was not merely linguistic. She was an interpreter/liaison who served as a guide to the region, as an advisor on native customs and beliefs, and as a strategist. La Malinche was the daughter of an Aztec cacique (chief). This gave her an unusual level of education, which she would later leverage as a guide and interpreter for the Spanish. Throughout Cortés’s travels, she became indispensable as a translator, not only capable of functionally translating from one language to the other, but of speaking compellingly, strategizing, and forging political connections. Integral as she was to Spain’s success, La Malinche is a controversial figure. Candelaria quotes T. R. Fehrenbach as saying, “If there is one villainess in Mexican history, she is La Malinche. She was to become the ethnic traitress supreme.” But Candelaria argues that La Malinche’s act of turning her back on her own people makes more psychological sense when we consider that, at a young age, she had been sold by her own mother into slavery. Candelaria asks, “What else could this outcast from the Aztecs, ‘her own people,’ have done?”
Disponível em https://daily.jstor.org/. Adaptado.
Segundo o texto, em relação à imagem de La Malinche como traidora do povo Asteca, a pesquisadora Cordelia Candelaria argumenta que a intérprete
A)havia sido preterida no seio da própria família.
B)fez uso de idiomas em proveito próprio.
C)era invejada pelos privilégios alcançados.
D)ignorou as vulnerabilidades do povo mexicano.
E)tentou se sobrepor aos líderes da época.
FUVEST20231a faseQuestao 32InglêsInterpretação de textoFacil
From French electronic and Japanese indie to K-pop and Spanish jazz, it’s common for people to listen to songs they don’t necessarily understand. Not knowing the language of the lyrics, it seems, doesn’t stop people from liking—and sometimes even singing along to—a song. Unless the listener is looking up the dictionary meaning of the lyrics, then the dictionary meaning of the lyrics doesn’t make or break their appreciation of a song. But why? “It’s a complicated answer,” said musicologist Lisa Decenteceo, adding that it all starts with what’s called “sound symbolism.” Sound symbolism refers to the study of the relationships between utterances and their meaning. This doesn’t have to do only with music. Marketers, for example, can tune into sound symbolism as part of their strategy in coming up with appealing brand names. In music as well as in branding, Decenteceo explained, there’s something about the appeal of words as sounds, beyond their meaning in a language. While things like culture and personal experiences affect people’s responses to different kinds of music, she explained there are certain musical techniques that are generally used to convey certain moods. One of which is scale. “Songs in a major scale usually have brighter, happier sounds, while minor scales usually have the slightly darker, melancholic feel,” explains Thea Tolentino, a music teacher. The human brain is wired to respond to sound, she added. In a process called entrainment, the brain “synchronizes our breathing, our movement, even neural activities with the sounds we hear.” This is why fast-paced music is so popular for running, for example, or why some yoga teachers play rhythmic and melodic tracks in their classes. And there are also the things that accompany the words. “Elements of sound and music like pitch, melody, harmony, timbre, and amplitude have an affective, emotional, psychological, cognitive, and even physical impact on listeners. Music adds so much meaning and dimension to texts through a complex of these avenues,” said Decenteceo. What all these things do, she added, is liberate the words. “Song frees the voice from any burden of saying anything meaningful”. It’s important, then, to understand music as a discourse between musical elements. But all in all, Decenteceo said there’s value in whatever immediate appeal people find in the music they listen to, whether or not they understand the words. Music, after all, is the universal language. Disponível em https://www.vice.com/. March, 2022. Adaptado.
De acordo com o texto, os estudos sobre as propriedades do som
A)indicam a complexidade musical da canção pop contemporânea.
B)podem ter reflexos em áreas como o marketing e as atividades esportivas.
C)influenciam as pesquisas acadêmicas sobre o fazer poético.
D)revelam as estratégias enganosas empregadas nas campanhas publicitárias.
E)demonstram a falácia do conceito da música como linguagem universal.
FUVEST20231a faseQuestao 34InglêsInterpretação de textoFacil
From French electronic and Japanese indie to K-pop and Spanish jazz, it’s common for people to listen to songs they don’t necessarily understand. Not knowing the language of the lyrics, it seems, doesn’t stop people from liking—and sometimes even singing along to—a song. Unless the listener is looking up the dictionary meaning of the lyrics, then the dictionary meaning of the lyrics doesn’t make or break their appreciation of a song. But why? “It’s a complicated answer,” said musicologist Lisa Decenteceo, adding that it all starts with what’s called “sound symbolism.” Sound symbolism refers to the study of the relationships between utterances and their meaning. This doesn’t have to do only with music. Marketers, for example, can tune into sound symbolism as part of their strategy in coming up with appealing brand names. In music as well as in branding, Decenteceo explained, there’s something about the appeal of words as sounds, beyond their meaning in a language. While things like culture and personal experiences affect people’s responses to different kinds of music, she explained there are certain musical techniques that are generally used to convey certain moods. One of which is scale. “Songs in a major scale usually have brighter, happier sounds, while minor scales usually have the slightly darker, melancholic feel,” explains Thea Tolentino, a music teacher. The human brain is wired to respond to sound, she added. In a process called entrainment, the brain “synchronizes our breathing, our movement, even neural activities with the sounds we hear.” This is why fast-paced music is so popular for running, for example, or why some yoga teachers play rhythmic and melodic tracks in their classes. And there are also the things that accompany the words. “Elements of sound and music like pitch, melody, harmony, timbre, and amplitude have an affective, emotional, psychological, cognitive, and even physical impact on listeners. Music adds so much meaning and dimension to texts through a complex of these avenues,” said Decenteceo. What all these things do, she added, is liberate the words. “Song frees the voice from any burden of saying anything meaningful”. It’s important, then, to understand music as a discourse between musical elements. But all in all, Decenteceo said there’s value in whatever immediate appeal people find in the music they listen to, whether or not they understand the words. Music, after all, is the universal language. Disponível em https://www.vice.com/. March, 2022. Adaptado.
De acordo com o texto, os aspectos físicos relacionados com elementos tanto do som quanto da música são
A)simbolismo e respiração.
B)letra e idioma.
C)timbre e amplitude.
D)brilho e melodia.
E)discurso e mensagem.
FUVEST20231a faseQuestao 68InglêsInterpretação de textoFacil
The expression “dark doldrums” chills the hearts of renewable-energy engineers, who use it to refer to the lulls when solar panels and wind turbines are thwarted by clouds, night, or still air. On a bright, cloudless day, a solar farm can generate prodigious amounts of electricity. But at night solar cells do little, and in calm air turbines sit useless. The dark doldrums make it difficult for us to rely totally on renewable energy. Power companies need to plan not just for individual storms or windless nights but for difficulties that can stretch for days. Last year, Europe experienced a weekslong “wind drought,” and in 2006 Hawaii endured six weeks of consecutive rainy days. On a smaller scale, communities that want to go all-renewable need to fill the gaps. The obvious solution is batteries, which power everything from mobile phones to electric vehicles; they are relatively inexpensive to make and getting cheaper. But typical models exhaust their stored energy after only three or four hours of maximum output, and—as every smartphone owner knows—their capacity dwindles with each recharge. Moreover, it is expensive to collect enough batteries to cover longer discharges. We already have one kind of renewable energy storage: more than ninety per cent of the world’s energy-storage capacity is in reservoirs, as part of a technology called pumped-storage hydropower, used to smooth out sharp increases in electricity demand. Motors pump water uphill from a river or a reservoir to a higher reservoir; when the water is released downhill, it spins a turbine, generating power. A pumped-hydro installation is like a giant, permanent battery, charged when water is pumped uphill and depleted as it flows down. Some countries are expanding their use of pumped hydro, but the right geography is hard to find, permits are difficult to obtain, and construction is slow and expensive. The hunt is on for new approaches to energy storage. The New Yorker. Abril, 2022. Adaptado.
No texto, a expressão “dark doldrums” descreve
A)as mudanças climáticas atribuídas ao fenômeno de aquecimento global.
B)os altos custos implicados na construção de fontes de energia renovável.
C)os debates entre ecologistas e defensores do emprego de energia nuclear.
D)os períodos de inatividade de geradores de energia como painéis solares.
E)as dificuldades encontradas por comunidades rurais para distribuir eletricidade.
FUVEST20231a faseQuestao 70InglêsInterpretação de textoMedia
The expression “dark doldrums” chills the hearts of renewable-energy engineers, who use it to refer to the lulls when solar panels and wind turbines are thwarted by clouds, night, or still air. On a bright, cloudless day, a solar farm can generate prodigious amounts of electricity. But at night solar cells do little, and in calm air turbines sit useless. The dark doldrums make it difficult for us to rely totally on renewable energy. Power companies need to plan not just for individual storms or windless nights but for difficulties that can stretch for days. Last year, Europe experienced a weekslong “wind drought,” and in 2006 Hawaii endured six weeks of consecutive rainy days. On a smaller scale, communities that want to go all-renewable need to fill the gaps. The obvious solution is batteries, which power everything from mobile phones to electric vehicles; they are relatively inexpensive to make and getting cheaper. But typical models exhaust their stored energy after only three or four hours of maximum output, and—as every smartphone owner knows—their capacity dwindles with each recharge. Moreover, it is expensive to collect enough batteries to cover longer discharges. We already have one kind of renewable energy storage: more than ninety per cent of the world’s energy-storage capacity is in reservoirs, as part of a technology called pumped-storage hydropower, used to smooth out sharp increases in electricity demand. Motors pump water uphill from a river or a reservoir to a higher reservoir; when the water is released downhill, it spins a turbine, generating power. A pumped-hydro installation is like a giant, permanent battery, charged when water is pumped uphill and depleted as it flows down. Some countries are expanding their use of pumped hydro, but the right geography is hard to find, permits are difficult to obtain, and construction is slow and expensive. The hunt is on for new approaches to energy storage. The New Yorker. Abril, 2022. Adaptado.
Segundo o texto, quando a geração de energia por células solares ou turbinas eólicas é insuficiente para atender à demanda, uma fonte de energia alternativa envolveria a conversão de
A)energia nuclear em elétrica.
B)energia mecânica em térmica.
C)energia mecânica em elétrica.
D)energia solar em mecânica.
E)energia química em elétrica.
FUVEST20211a faseQuestao 56InglêsInterpretação de textoMedia
As astronomers gaze into the depths of space, they do so with unease: They don't know precisely what the universe is made of. Surprisingly, no one knows the stars' exact chemical composition: how many carbon, nitrogen and oxygen atoms they have relative to hydrogen, the most common element. 5 These numbers are crucial, because they affect how stars live and die, what types of planets form and even how readily life might arise on other worlds. Twenty years ago, astronomers expressed confidence in the numbers they had been working with. Now, not so much. The 10 problem lies not in the far corners of the cosmos, but much closer to home. Astonishingly, scientists don't know exactly what the sun is made of. As a result, they don't know what the other stars are made of, either. "The sun is a fundamental yardstick," says Martin Asplund, 15 an astrophysicist at the Max Planck Institute for Astrophysics, in Germany. "When we determine the abundance of a certain element in a star or a galaxy or a gas cloud anywhere in the universe, we use the sun as a reference point." The sun's location in the Milky Way also makes it a good 20 representative of the entire galaxy. Most stars reside in giant galaxies like the Milky Way, which makes the sun a touchstone for the entire cosmos. For nearly a century, astronomers have judged stars normal or not by seeing whether their chemical compositions match the 25 sun's. Most stars near us do; some don't. Scientific American. 1 July 2020. Adaptado.
Segundo o texto, conhecer a composição de elementos químicos que constituem as estrelas é fundamental, pois ela, entre outros aspectos,
A)fornece evidências da ligação entre as idades das estrelas.
B)sugere a existência de planetas rochosos formados por elementos pesados.
C)influencia na possibilidade de presença de vida em outros locais do universo.
D)determina condições cosmológicas da evolução de aglomerados estelares.
E)possibilita a síntese de moléculas em nuvens de gás e poeira cósmica.
FUVEST20211a faseQuestao 57InglêsInterpretação de textoMedia
As astronomers gaze into the depths of space, they do so with unease: They don't know precisely what the universe is made of. Surprisingly, no one knows the stars' exact chemical composition: how many carbon, nitrogen and oxygen atoms they have relative to hydrogen, the most common element. 5 These numbers are crucial, because they affect how stars live and die, what types of planets form and even how readily life might arise on other worlds. Twenty years ago, astronomers expressed confidence in the numbers they had been working with. Now, not so much. The 10 problem lies not in the far corners of the cosmos, but much closer to home. Astonishingly, scientists don't know exactly what the sun is made of. As a result, they don't know what the other stars are made of, either. "The sun is a fundamental yardstick," says Martin Asplund, 15 an astrophysicist at the Max Planck Institute for Astrophysics, in Germany. "When we determine the abundance of a certain element in a star or a galaxy or a gas cloud anywhere in the universe, we use the sun as a reference point." The sun's location in the Milky Way also makes it a good 20 representative of the entire galaxy. Most stars reside in giant galaxies like the Milky Way, which makes the sun a touchstone for the entire cosmos. For nearly a century, astronomers have judged stars normal or not by seeing whether their chemical compositions match the 25 sun's. Most stars near us do; some don't. Scientific American. 1 July 2020. Adaptado.
No texto, o astrofísico Martin Asplund emprega a frase "The sun is a fundamental yardstick" (L. 15), por considerar o Sol
A)um mistério.
B)uma estrutura.
C)um processo.
D)um sistema.
E)um parâmetro.
FUVEST20211a faseQuestao 58InglêsInterpretação de textoMedia
As astronomers gaze into the depths of space, they do so with unease: They don't know precisely what the universe is made of. Surprisingly, no one knows the stars' exact chemical composition: how many carbon, nitrogen and oxygen atoms they have relative to hydrogen, the most common element. 5 These numbers are crucial, because they affect how stars live and die, what types of planets form and even how readily life might arise on other worlds. Twenty years ago, astronomers expressed confidence in the numbers they had been working with. Now, not so much. The 10 problem lies not in the far corners of the cosmos, but much closer to home. Astonishingly, scientists don't know exactly what the sun is made of. As a result, they don't know what the other stars are made of, either. "The sun is a fundamental yardstick," says Martin Asplund, 15 an astrophysicist at the Max Planck Institute for Astrophysics, in Germany. "When we determine the abundance of a certain element in a star or a galaxy or a gas cloud anywhere in the universe, we use the sun as a reference point." The sun's location in the Milky Way also makes it a good 20 representative of the entire galaxy. Most stars reside in giant galaxies like the Milky Way, which makes the sun a touchstone for the entire cosmos. For nearly a century, astronomers have judged stars normal or not by seeing whether their chemical compositions match the 25 sun's. Most stars near us do; some don't. Scientific American. 1 July 2020. Adaptado.
Conforme o texto, um critério tradicionalmente utilizado por astrônomos para avaliar estrelas envolve
A)verificar se sua composição se assemelha à do Sol.
B)selecionar galáxias compostas por estrelas padrão.
C)calcular níveis de radiação estelar e de energia gravitacional.
D)medir a densidade e grau de opacidade de nêutrons.
E)testar a circulação atmosférica em torno dos astros. 17 6 9
No Presarium Vestibulares, você resolve essas questões com correção na hora, comentário e um painel que cruza a incidência com o seu desempenho — e monta sua lista de prioridade automaticamente.